Conflicting Masculinities: Men in Television Period Drama

Conflicting Masculinities: Men in Television Period Drama

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Overview

Never before has period drama offered viewers such an assortment of complex male characters, from transported felons and syphilitic detectives to shell shocked soldiers and gangland criminals. Neo-Victorian Gothic fictions like Penny Dreadful represent masculinity at its darkest, Poldark and Outlander have refashioned the romantic hero and anti-heritage series like Peaky Blinders portray masculinity in crisis, at moments when the patriarchy was being bombarded by forces like World War I, the rise of first wave feminism and the breakdown of Empire. Scholars of film, media, literature and history explore the very different types of maleness offered by contemporary television and show how the intersection of class, race, history and masculinity in period dramas has come to hold such broad appeal to twenty-first-century audiences.

Product Details

ISBN-13: 9781788313353
Publisher: Bloomsbury Academic
Publication date: 07/30/2018
Series: Library of Gender and Popular Culture
Pages: 320
Product dimensions: 5.51(w) x 9.15(h) x 1.15(d)

About the Author

Katherine Byrne is a lecturer in English at the University of Ulster, where she teaches nineteenth and twentieth century literature and women's writing. She has published articles and book chapters on Victorian fiction and medicine, and on adaptation and television, especially on the adaptation of Elizabeth Gaskell for the small screen. Her previous monograph was Tuberculosis and the Victorian Literary Imagination and she has just completed a book on Neo-Edwardian period drama, called Edwardians on Screen: From Downton Abbey to Parade's End.Julie Anne Taddeo teaches British history at University of Maryland, College Park, USA. She is the author of Lytton Strachey and the Search for Modern Sexual Identity and has edited and co-edited the following collections: Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey;Steaming into a Victorian Future: A Steampunk Anthology; Catherine Cookson Country: On the Borders of Legitimacy, Fiction and History and The Tube Has Spoken: Reality TV & History . She is an associate editor for The Jourbanal of Popular Television and is Secretary of the Middle Atlantic Conference on British Studies (MACBS).James Leggott teaches film and television at Northumbria University, UK. He has published on various aspects of British film and television culture and is the co-editor of Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey. He is the principal editor of the Jourbanal of Popular Television.

Table of Contents

List of Figures xiv

List of Contributors xvi

Acknowledgements xx

Series Editors' Foreword xxi

Introduction Katherine Byrne James Leggott Julie Anne Taddeo 1

Conflicted Men 4

Men at Work 5

Warfare 7

The Female Gaze 8

Part I The Seventeenth and Eighteenth Centuries

1 The Masculine Economies of Banished James Ward 15

Introduction 15

Masculine Economies 17

Violence and Sacrifice 22

Banished, Masculinity and Australian History 24

Conclusion 28

2 'I will not fight for my country … for my ship … my King … or Captain': Redefining Imperial Masculinities in To the Ends of the Earth Mark Fryers 35

Introduction 35

Empire, Masculinity and the Sea 36

This Ship of Fools is England 41

The Sea as a Philosophical and Nightmarish Space 42

Masculinity, Sexuality and the Sea 45

'I kill people without knowing it' 47

Conclusion 49

3 Television Costume Drama and the Eroticised, Regionalised Body: Poldark and Qutlander Gemma Goodman Rachel Moseley 52

Introduction 52

Masculinities and Male Bodies 54

Regional Identity and the Body 56

Colonised Territory: Looking at the Naked Male Body 62

Outlander: Body as Contested Territory 64

Conclusion 67

4 Power and Passion: Seventeenth-Century Masculinities Dramatised on the BBC in the Twenty-First Century Sarah Belts 71

Seventeenth-Century Drama on the BBC 73

Coming of Age 75

Passion 79

Interior and Exterior Masculinities 82

Conclusion 85

Part II Visions of the Nineteenth Century

5 A Post-Feminist Hero: Sandy Welch's North and South Sarah E. Fanning 91

'The Darcy Model': Andrew Davies's Pride and Prejudice 92

The Evolution of Post-Feminist Masculinities in the Televised Classic Novel 93

Moving Beyond Darcymania: A Hero in His Own Right 96

North and South (2004): Thornton's Re-inscription as a Post-Feminist Victorian Hero 98

Men as Men: Male Community 100

Wounded Masculinity: Male Emotion 101

Homosocial Bonding: John Thornton and Nicholas Higgins 104

Post-Feminism and the Father Figure 106

Conclusion 107

6 'Because my daddy would protect them': Ripper Street's Edmund Reid and the Competing Demands of Home and Public Lives Jessica Saxon 111

Losing His Home: Series One and Two 114

Regaining His Home: Series Three 115

Reid and Neo-Victorian Representations of Masculinity 117

Daddy/Detective 121

Conclusion 124

7 'Pleasure and pain, again and again' - Between Monstrosity and Inner Turmoil: The Representation of Masculinity in Penny Dreadful Caroline Langhorst 127

Introduction: 'Not a girl's heart. A man's heart' 127

'When you transform a life, you're making it anew': Penny Dreadful and Victorian Gothic 129

'For the monster is not in my face, but in my soul': The Portrayal of Conflicted Gothic Masculinity in Penny Dreadful 132

'You're a very young man. I've long since learnt that the truth is mutable': Troubled Father and Son Relationships 139

Conclusion 141

8 Pathological Masculinities: Syphilis and the Medical Profession in The Frankenstein Chronicles Katherine Byrne 146

Monstrous Doctors and the Legacy of Mary Shelley's Frankenstein 147

An Unlikely 'Hero': Marlott and Syphilis 150

Power and Education 153

Changing Masculinities: Sharpe for the New Millennium? 154

Conclusion 158

Part III Masculinities from World War I to the Cold War

9 'The war is done. Shut the door on it!': The Great War, Masculinity and Trauma in British Period Television Julie Anne Taddeo 165

Uniforms and Masculine Authority 167

Hysterical Men 171

The Manly Death, Shirkers and Disabled Bodies 174

The Veteran's Anger 177

Conclusion: Memorialising Male Sacrifice 181

10 Pride versus Prejudice: Wounded Men, Masculinity and Disability in Downton Abbey Claire O'Callaghan 187

The Dilemma of Disabled Masculinity 191

'Think of me as dead': Matthew Crawley's Disabled Masculinity 193

Disabled Masculinity: The Case of Mr Bates 196

Conclusion 201

11 A Minority of Men: The Conscientious Objector in Period Drama Lucy Brown 206

'His name is Coward. His name is Shirker': Realism and Melodrama in The Village 208

'Mixed with sour milk': Downton Abbey's Idealistic CO 213

'You're not the man I thought you were': Echoes of World War I in Home Fires and Upstairs, Downstairs 216

Conclusion 218

12 Cads, Cowards and Cowmen: Masculinity in Crisis in World War II Television Drama Stella Hockenhull 221

Masculinity in British Cinema and Television Drama 222

Wounded Masculinity in Period Drama 229

The WI Saves the Day 233

Conclusion 234

13 'Have you seen Walliams' Bottom?: Detecting the 'Ordinary' Man in Partners in Crime Louise FitzGerald 239

Gender and Genre 240

Camp David, Camp Criticism and Otherness 241

The Two Tommys; The Secret Adversary and Models of Male Identity 245

Of Bees and Men: Gender Dualism and the Detective Figure 249

Conclusion 254

14 'No Need to Matronise Me!': The Crown, the Male Consort and Conflicted Masculinity James Leggott 259

The Feminised Monarchy and Melodrama 261

The Male Consort: Malcontent and Moderniser 264

The Crown and the Philip Problem 269

The Crown and the Twenty-First Century 271

Bibliography 278

Index 296

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